Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

Cantata for the First Sunday of Advent. Par BACH JOHANN SEBASTIAN. Nun komm, der Heiden Heiland BWV 62 Cantata for the First Sunday of Advent Bach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm, der Heiden Heiland', a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata, typical of Bach's late creative period, incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements. Urtext of the New Bach Edition Performance material (BA10062), Vocal score (BA10062-90) & study scoreformat 22. 5 x 16cm (TP1062) available for sale/ Répertoire / Partition de Poche

Cantata for the Feast of Reformation. Par BACH JOHANN SEBASTIAN. Ein feste Burg ist unser Gott BWV 80 (A Mighty Fortress is our God) Cantata for the Feast of Reformation There are practically no surviving original sources for Bach's great Reformation Cantata 'Ein feste Burg ist unser Gott'. It is possible that the original form of the Cantata was written in Weimar in 1715 to which Bach later made various additions and alterations to transform it into a Reformation Cantata for Leipzig. Although scholarly opinion as to the sources is divided there is no doubt that the opening chorus, based on Martin Luther's chorale melody 'Ein feste Burg' is one of Bach's greatest achievements. Urtext ofthe New Bach Edition Performance material (BA10080), vocal score (BA10080-90) & study score format 22. 5 x 16. 5cm (TP1080) available for sale/ Répertoire / Partition de Poche

Winter with all its moods has always been captured by composers in their music: Inspired by romantic walks in winter, dancing snowflakes, a look out of windows covered with ice-ferns, or an adventurous sleigh-ride, such musical winter dreams often became well-known and popular classics.The edition Winter Dreams contains a large number of these works, like the famous melodies from J.S. Bach's Christmas Oratorio or Handel's Messiah as well as evergreens from Winter Wonderland to the soundtrack of the cult film Three Wishes for Cinderella. / 3 Flûtes A Bec (SSA)

A fantastic collection of over 25 songs from the greatest Men of Pop, arranged for Piano and Voice, with Guitar chord boxes. Including up-beat songs such as Toploader's Dancing In The Moonlight and (Is This The Way To) Amarillo? , along with lyrical ballads You Raise Me Up , by Westlife, and Hero , by Enrique Iglesias, this collection provides you with the best of today's Men of Pop! / Niveau : Assez Facile / Recueil / Piano, Chant et Guitare